A becoming-infinite-cycle in Anne Boyd's music : a feminist-Deleuzian exploration

The last two decades of the twentieth century witnessed the remarkable transformation of musicology by feminist scholarship in its illumination of the music of previously forgotten women composers. By the turn of the twenty-first century, however, this scholarship had become merely a phenomenon of the 1990s. Women's music, once again, has virtually disappeared from musicology in the Northern hemisphere, a finding which is echoed in Australia. A recent study paints a bleak picture, suggesting that women's music is significantly under-represented in the theoretical studies of Australian tertiary music institutions.